This preview shows page 1. Sign up to view the full content.
Unformatted text preview: Chapter 26: Romantic Opera
Chapter 26: Romantic Opera
Italy Italian Bel Canto Opera Literally means “beautiful singing” Emphasizes beautiful vocal melodies
Little or no counterpoint Orchestra provides simple harmonic support Italian Bel Canto Opera Exalted the leading operatic singers
Soprano normally the heroine Called the prima donna or diva (goddess) Italian Bel Canto Opera Perfectly exemplified in the operas of:
Bellini Rossini Barber of Seville
William Tell Strong influence on Verdi and Puccini Giuseppe Verdi (18131901) Reputation Most popular opera composer throughout Europe
His operas performed more than any others Giuseppe Verdi (1840s) First opera Oberto (1839) Early operas Dramas support political revolution and freedom
His name a political slogan Viva VERDI (Vittorio Emanuele Re d’Italia)
Promoted a united Italy Giuseppe Verdi (early and mid1850s) Dramas turned to domestic themes and personal conflict
Some of his most famous compositions
1851 Rigoletto (La donne è mobile)
1853 La traviata 1853 Il trovatore (“Anvil” chorus) Called this period “my years as a galley slave” Giuseppe Verdi (late 1850s1893) Now very wealthy Only composed for two reasons Personally interested in the drama
Offered an enormous fee 1871 Aida paid 150,000 francs ($670,000) Last two operas based on Shakespearean dramas 1887 Otello 1893 Falstaff Giuseppe Verdi: Dramaturgy Conflict—personal or national—the root of every emotion
Clear expression of emotion
Emotional states almost melodramatic Giuseppe Verdi: Musical Style Intense passion and nonstop action
Recitativo accompagnato Orchestra accompanies the recitative Smooth transitions between recitative and aria Arias push singers to the utmost of their range La traviata (1853) Title means The Woman Gone Astray Based on a story by Alexandre Dumas the younger Known in English as Camille Based on the author’s personal experience Pits passionate love against middleclass morality Violetta based on Marie Duplessis* Died from tuberculosis at 23 Violetta’s difficulties parallel those of Giuseppina Streponi Act I, Scene 6 A scena Slow aria (“Ah fors’è lui”) Recitativo accompagnato (“Follie!”)
Cabaletta (“Sempre libera”)
A fastpaced concluding aria Allows character to rush off stage Virtuosity serves a dramatic purpose ...
View Full Document
This note was uploaded on 01/10/2012 for the course MUS 1751 taught by Professor Harris during the Summer '08 term at LSU.
- Summer '08